Cover Classics takes a closer look at all-cover albums of the past, their genesis, and their legacy.
Until 2010’s Scratch My Back appeared, Peter Gabriel had been an artist more covered than covering – arguably a pity, given the cracked wistfulness of his croaky beauty. But I guess if you can write material of the quality and diversity that he has, why bother with someone else’s material? The problem was, Gabriel hadn’t been writing that kind of material – this was his first album in eight years.
So was Scratch My Back just, as covers projects can so often be, a stopgap sales pitch to keep his brand alive during a creative lull? Who knows? I think not and hope not, feeling this a deliberate if somewhat failed experiment on two levels. Flawed, maybe, rather than failed. Continue reading »
Lou Barlow (Dinosaur Jr, Sebadoh)’s new cover of Peter Gabriel’s “In Your Eyes” has a number of knocks against it. His description doesn’t exactly sell it: “i was asked to record a version of this tune awhile back..nothing came of it..thought i’d put up here.” It’s accompanied by shaky iPhone video of his kids. And instead of being played on John Cusack’s boombox, it sounds like it was recorded into that boombox.
But despite all that, Barlow delivers a beautiful acoustic version that rescues the song from the cliche it has sometimes become. Accompanying himself on acoustic guitar with maybe a mandolin accompanying him (hard to tell given the audio), what at first appears to be a tossed-off lark actually turns into a moving and compellingly beautiful performance. And his kid’s cute too. Listen below.Continue reading »
Welcome to Cover Me Q&A, where we take your questions about cover songs and answer them to the best of our ability.
Here at Cover Me Q&A, we’ll be taking questions about cover songs and giving as many different answers as we can. This will give us a chance to hold forth on covers we might not otherwise get to talk about, to give Cover Me readers a chance to learn more about individual staffers’ tastes and writing styles, and to provide an opportunity for some back-and-forth, as we’ll be taking requests (learn how to do so at feature’s end).
Today’s question, in honor of the month of June: What cover song would you like to have played at your wedding? Continue reading »
They Say It’s Your Birthday celebrates an artist’s special day with other people singing his or her songs. Let others do the work for a while. Happy birthday!
Willie Nelson, 82 years old today, has always been an awkward cuss. Still relentlessly on the road and putting out record after record, somehow it would seem a cop-out to “let others do the work for a while,” as is the norm for these pieces (and besides, been there done that), so this is more a celebration of the myriad and varied covers he has performed over the decades. The germ for this idea came as the staff pow-wow took place around our best country covers of non-country songs Q&A, with Mr. Nelson featuring twice.
His career in music has lasted, so far, a staggering 59 years, his first recording being 1956’s “Lumberjack.” Since then, he has passed through many incarnations, from clean cut C&W performer, consummate Nashville standards songwriter, self-imposed banishment and his counter-intuitively hippie redneck years (copyright me), banding up with and as like-minded (the) Outlaws, before settling into iconic status as a national treasure, lauded by presidents and paupers alike. Somehow his skirmishes with the I.R.S. and his enduring support for marijuana has but strengthened his appeal, even within the staunchly conservative country demographic. And, of course, all of us longhairs just love him. Don’t we? Continue reading »
Follow all our Best of 2014 coverage (along with previous year-end lists) here.
A few months ago, I read an interesting interview with an artist named Nouela. You probably haven’t heard of her, but you may have heard her music. She’s become a specialist in a weird but growing niche: covers recorded for movie and television trailers. Whether doing a piano “Sound of Silence” to promote a new HBO show or a brooding “Black Hole Sun” to promote Liam Neeson punching people, she’s found a quickly-growing way of getting her covers out there.
It struck me as part of a growing trend we’ve seen. More and more great covers seem to come from unexpected places. Sure, you’ve got still your standby sources, your b-sides, tribute albums, and radio shows. But new avenues for covers have increasingly crept in. This year saw a Sam Smith cover that is only available to hear under Grey’s Anatomy dialog (thankfully he’s recorded a few live versions too) and a whole covers album recorded to plug a Canadian TV show. Brands have fully embraced covers too, most recently My Morning Jacket’s “This Land Is Your Land” recorded for North Face ads, or Charli XCX and Bleachers trading covers for Kia.
We don’t care where they originated when we make our year-end lists, though, and we would up with some of everything. In our top five alone, we’ve got a live radio session, a deluxe-edition bonus track, and a cover hiding in plain sight on one of the most acclaimed country records of the year. You have to keep an eye on more places than ever to spot the best covers these days. Wherever they come from, we’re glad to have ’em.
Click on over to page two to begin our countdown, and thanks for reading.
Full Albums features covers of every track off a classic album. Got an idea for a future pick? Leave a note in the comments!
There are certain things that you always remember. Meeting the love of your life. Seeing your children for the first time. And, of course, the first time you heard Talking Heads’ Remain in Light. Maybe that isn’t a statement of general applicability, but it is true for me.
In October of 1980, I was a college junior and assistant program director of WPRB-FM. It was my responsibility to swing by the post office every day to pick up the station’s mail, including the packages of records. This meant that I got to see the new releases before anyone else. By that time, I had become a pretty big Talking Heads fan (and rued my error in having skipped their show on campus back in my freshman year). We fans knew that the band was moving in new directions after the previous year’s Fear of Music, which had begun integrating more complex rhythms, dance beats and world influences into their sound, and the music press was buzzing with anticipation about what they were going to do next. So, on that cool October morning, when I ripped open the box from WEA as I walked toward the station, I was thrilled to see Remain in Light. After scurrying down into our basement office, I quickly threw the record on the turntable, and was immediately blown away. Continue reading »